Alice Busch Opera Theater |
Madeline Sayet’s charming production of Mozart’s “The Magic
Flute” was sung in a colloquial English translation by Kelley Rourke. Dressed
in a modern business suit, Tamino leaves the chaos of city life for a forest
journey toward self-discovery, finding love with Pamina, companionship with
Papageno, and a series of trials from various other characters. Tenor Sean
Panikkar and soprano Jacqueline Echols sang radiantly as the lovers, and young
artist baritone Ben Edquist brought a sonorous voice and clever physical comedy
to Papageno.
Other vocal standouts were bass Solomon Howard as Sarastro
and young artist soprano So Young Park, who nailed the Queen of the Night’s
demanding Act II aria. Hartford Symphony Music Director Carolyn Kuan led a
shimmering rendition of the magical score.
In Francesca Zambello’s lively production of Leonard
Bernstein’s “Candide,” based on Voltaire’s satirical novel, we follow the title
character from innocent youth through worldly disillusionment to hard-earned
wisdom, always testing the relentless optimism of his teacher, Professor
Pangloss. Tenor Andrew Stenson was a transparent Candide, and soprano Kathryn
Lewek, a ravishing Cunegonde, his love interest. Baritone David Garrison was
entertaining as Pangloss, and mezzo-soprano Marietta Simpson, a hoot as the Old
Lady. Glimmerglass Music Director Joseph Colaneri highlighted all the shifting
musical styles with mastery.
The three witches who open Shakespeare’s “Macbeth” were
replaced in Anne Bogart’s production of Verdi’s operatic setting by a dozen
women dressed in early 20th-century attire. Though initially disconcerting, her
updated setting and minimal staging effectively illustrate the devastating
impact of Macbeth’s ambition on his community and its timeless relevance. With
fine performances by soprano Melody Moore as a haunted Lady Macbeth and Howard
as a dignified Banquo and solid leadership from Colaneri, the wrenching account
of the tortured Macbeth by bass-baritone Eric Owens was the biggest star turn
of this year’s Festival.
A stark production by Tazewell Thompson of Vivaldi’s “Cato
in Utica” dramatized Roman senator Cato’s opposition to Caesar’s growingly imperial
rule. Tenor Thomas Michael Allen was commanding as Cato, and countertenor John
Holiday compelling as Caesar, but the finest vocal performance was young artist
mezzo-soprano Megan Samarin’s anguished Marzia, Cato’s daughter and Caesar’s
lover. Ryan Brown led the baroque orchestra with tenderness and fire.
Special Glimmerglass events this weekend included a master
class with soprano Deborah Voigt and four young artists, and a “Candide”
Symposium featuring the composer’s daughter Jamie Bernstein and a panel
discussion.